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Truth likes to hide in triteness; great responsibility does trail on the heels of great power. Along the way, people tried to tell billionaire weapons inventor Tony Stark (Robert Downey Jr.) that. With all that ice clinking in his lowball of Scotch, he had trouble hearing them — and that’s not counting the times Tony was embarking on his mission to do the horizontal mambo with all 12 Maxim cover models (pity about Miss March). Whatever honorable qualities comic books have taught us to expect in superheroes, they don’t exist in Tony Stark. He’s a horndog with a smart mouth.

Hallelujah! After years of do-gooder types (even the tortured Batman abided a moral), Downey fashions a different hero: a likable jackass who gives his id full control; who flaunts his wealth instead of hiding it; who gives new meaning to the phrase “doing a piece for Vanity Fair.” And if just any old actor played him, that’s all the character would amount to. Because Downey has a Ph.D. in likable jackassery, he goes beyond the surface and dredges up pathos that catches us unaware. The end result is a hero who reinvents himself because he has to, then lets that new persona slowly change his heart. That’s no novel concept, but in a comic book movie it feels like one.

Unforseen circumstances necessitate the reinvention, and director Jon Favreau wastes no time setting up the expected superhero origin story. “Iron Man” hints the ground running: Tony makes an appearance before the U.S. military — including friend Lt. Col. James “Rhodey” Rhodes (Terrence Howard) — in Afghanistan to test out the Jericho, the latest Stark Industries-manufactured weapon. (The expectedly laconic Tony describes it as “the weapon you only have to fire once.”) Afterward, insurgents attack the humvee, igniting an explosion that embeds shrapnel in Tony’s chest and dragging him off to a cave in the desert. Fellow captive Yinsen (Shaun Toub, compelling in a small role) saves his life by implanting an electromagnet in his chest to draw the shrapnel away from his organs. The attack’s mastermind, Raza (Faran Tahir), charges the pair with creating a new missile. Knowing they won’t leave the cave alive, they construct an iron suit that paves the way for escape. The experience leaves Tony with emotional scars that alter his perceptions about war, and he shuts down Stark Industries — to the dismay of his business partner Obadiah Stane (Jeff Bridges) and his assistant Pepper Potts (Gwyneth Paltrow).

None of the remaining action sequences in “Iron Man” — all credibly done, with seams-hidden CGI — match the taut, nerve-snapping tension of Tony’s capture/escape. Since Favreau is shrewd enough to let Downey advance Tony as he sees fit, it barely matters. If anything, the precisely dispersed action helps because it allows for a degree of humor normally not found in the standard bells-and-whistles superhero film. For much of “Iron Man,” the action is played for chuckles, with Downey slinging one-liners only to take crazy pratfalls during disastrous test runs of his suit. (He warns his fire-control robot, called “Dummy,” not to douse him again or he’ll donate him to a city college.) His wit, bemused smirk and impeccable comic timing keep the momentum high and supply a surprisingly in-depth look into Stark’s personality, quirks and all. There’s a line between “witty” and “talky,” and Robert Downey Jr. is an actor who knows how to tease both sides of the tape without ever overstepping.

So Downey is money; this soil has been tilled before. What else makes “Iron Man” a horse of different color? Favreau. He handles the timely backstory with a welcome level of maturity, giving “Iron Man” the feel of a grown-up superhero movie. He doesn’t bully the chemistry between Paltrow and Downey into the obligatory sex scene, nor does Favreau give up the major villain within the first half hour. Favreau also has a script that gives the supporting characters more to do than be props, particularly Obadiah. Bridges would seem a strange choice for a supervillain — until you see him in action. He imbues a question about a newspaper with more menace than Hannibal Lecter’s “Hello, Clarice.” His presence in “Iron Man” is all we need to know that subtlety goes farther than an exploding missile.

15 Responses

Bridges and Downey were both the men in this. And Favreau hit it all right on the money. He was right to “double down” in this instance, and while Iron Man 2 was not as mature or well put together as this film, it was still a solid movie, but I think you summed up all of the successes of Iron Man quite accurately, and the true test is that it remains just as fulfilling each time you watch it.

Great writing as usual, my dear. You hit the nail on the head… while Downey is always entertaining to watch, it is Favreau that makes this film ultimately succeed.
Also, Iron Man turned out to be probably the most surprisingly good entry into the Comic Book genre!

I’m not sure how Iron Man’s formula of non-action director plus Downey worked for a comic book movie, but it sure did, and gangbusters at that. This is a movie well worth revisiting, over and over again, an origin story that doesn’t just feel like necessary set-up. Two years ago, this was maybe the most refreshing entry in the superhero genre in a good long while (outside of Hellboy), and even if the second didn’t tickle me the original is still excellent.

I’m happy you enjoyed ‘Iron Man’. It took me by surprise and really got me into that character. The relationships in the story are handled very nicely and I think Favreau is a more than competent action scene director.

I’ve been lamenting about how much I hate most of the superhero films released since the first Spider-Man but Iron Man redresses the balance somewhat. One of my faves and I think Downey jr. is excellent.

Right on, Miss Carter! Unfortunately Favreau couldn’t even match this one with the sequel, let alone top it. Obadiah Stone (what a cool name) makes for a great villain I agree, he had much more to do than poor Ivan Vanko! And I’m gonna say it again, but I LOVE Howard as Rhodes, no offense Mr. Cheadle.

Btw, unrelated topic but Faran Tahir should’ve been Prince of Persia. Just sayin’

@ Branden — The ending BATTLE in both “Iron Man” and “Iron Man 2″ disappointed me, but I liked the ending of “Iron Man.”

@ Fitz — Good point. And also, I’m still mystified why the script required Mickey Rourke to get drunk, cry and shriek at the sky in the credits of “Iron Man 2.” Talk about overdone.

@ Olive — What about “The Dark Knight”? Even if you hated it overall, there had to be flashes of brilliance.

@ Andrew — Much love for Ron Perlman in “Hellboy,” and I’m not just saying that because I thought he looked impossibly (and weirdly) hot in that getup!

@ Edgar — I thought on the whole most of the characters in “Iron Man” were surprisingly well developed, and if they weren’t the actors still managed to do good things with them (like Paltrow). From watching “The Vanishing,” I knew Jeff Bridges could do a crackerjack villain, but damn.

@ Ruth — Right again. Although I’m not snubbing my nose at the image of a buffed-up Jake Gyllenhaal, even if his hair was hideous.